新時(shí)期以來(lái)電影中的湘籍開國(guó)元?jiǎng)仔蜗笱芯?/H1>
發(fā)布時(shí)間：2019-02-12 07:57
【摘要】：新時(shí)期以來(lái)，隨著時(shí)代的轉(zhuǎn)型、銀幕形象塑造禁區(qū)的解放以及電影藝術(shù)工作者不斷的探索與創(chuàng)新，，一批批散發(fā)出藝術(shù)魅力、洋溢著革命激情、再現(xiàn)崢嶸革命歲月的電影作品在電影藝術(shù)界掀起了一股影響深遠(yuǎn)的紅色浪潮。而內(nèi)涵豐富、源遠(yuǎn)流長(zhǎng)的湖湘文化在20世紀(jì)孕育了眾多影響深遠(yuǎn)、獨(dú)具個(gè)性魅力的湖湘人士，湘籍開國(guó)元?jiǎng)鬃骶褪瞧渲幸粋�(gè)極具代表性的群體。隨著電影藝術(shù)的發(fā)展，毛澤東、彭德懷、劉少奇、賀龍、陳賡等湘籍開國(guó)元?jiǎng)仔蜗笙嗬^走入觀眾的視線，走進(jìn)觀眾的情懷中，成為電影銀幕上的一個(gè)重要表現(xiàn)對(duì)象，匯成一股獨(dú)特的文化現(xiàn)象。這些湘籍開國(guó)元?jiǎng)讘{著自己艱辛卓越的奮斗將自己深深地嵌入歷史的長(zhǎng)河中，而電影藝術(shù)工作者則通過(guò)自己的探索與實(shí)踐讓他們?cè)诰酃鉄粝乱灰徽宫F(xiàn)自己的風(fēng)采與獨(dú)特魅力。在他們身上蘊(yùn)含著豐富深刻的社會(huì)內(nèi)涵與特殊的審美規(guī)定性，觀眾可以從不同的角度對(duì)湘籍開國(guó)元?jiǎng)仔蜗筮M(jìn)行評(píng)價(jià)。 電影藝術(shù)界對(duì)湘籍開國(guó)元?jiǎng)仔蜗蟮乃茉煲步?jīng)歷了一個(gè)發(fā)展變化的過(guò)程，在不同的歷史時(shí)期電影中塑造的湘籍開國(guó)元?jiǎng)仔蜗笥兄煌奶攸c(diǎn)，經(jīng)歷了偶像符號(hào)、世俗化與瑣碎化、共性與個(gè)性相融合、形神兼?zhèn)溥@樣幾個(gè)階段，呈現(xiàn)出鮮明的歷史演變。并且，新時(shí)期以來(lái)銀幕上的開國(guó)元?jiǎng)仔蜗笠仓饾u呈現(xiàn)出不同于文學(xué)作品中人物形象塑造的獨(dú)特藝術(shù)魅力，電影藝術(shù)工作者對(duì)湘籍開國(guó)元?jiǎng)仔蜗蟮乃茉熘饾u進(jìn)行了藝術(shù)性創(chuàng)造。在藝術(shù)真實(shí)與歷史真實(shí)的統(tǒng)一、共性色彩與個(gè)性色彩的融合，尤其是電影聲音、電影色彩等藝術(shù)手法的運(yùn)用方面得到了很大的發(fā)展，使得開國(guó)元?jiǎng)仔蜗笞兊酶拥纳鷦?dòng)形象、多元立體。此外，湘籍開國(guó)元?jiǎng)仔蜗笊砩铣尸F(xiàn)出鮮明的湖湘文化精神，對(duì)新時(shí)期以來(lái)電影中湘籍開國(guó)元?jiǎng)仔蜗蟮难芯颗c分析，不僅僅有利于推動(dòng)此類影片的創(chuàng)作和發(fā)展，拉近觀眾與開國(guó)元?jiǎng)字g的距離，而且在給觀眾帶來(lái)審美愉悅的同時(shí)，無(wú)形中升華了觀眾的精神境界，重塑了當(dāng)代人的價(jià)值觀。
[Abstract]:Since the new era, with the transformation of the times, the liberation of screen image shaping restricted area and the constant exploration and innovation of film artists, a lot of artistic charm has been exuded, filled with revolutionary passion. The reappearance of Zheng-Rong revolutionary years of film works in the film art world set off a far-reaching red wave. The culture of Huxiang, which has a rich connotation and has a long history in the 20th century, has given birth to many people with profound influence and unique charisma. The Founding Fathers of Hunan nationality is one of the most representative groups. With the development of film art, the images of Mao Zedong, Peng Dehuai, Liu Shaoqi, He Long, He Long and the Founding Fathers of Hunan nationality successively entered the audience's sight, entered the audience's feelings, and became an important object of expression on the screen of the film. Into a unique cultural phenomenon. The Founding Fathers of Hunan nationality deeply embed themselves in the long stream of history by their own hard and outstanding struggle, while the film artists let them show their charm and unique charm one by one in the spotlight through their own exploration and practice. There are rich and profound social connotations and special aesthetic provisions in them, and the audience can evaluate the image of the founding fathers of Hunan nationality from different angles. The film art circles have also experienced a process of development and change in shaping the image of the Founding Fathers of Hunan nationality. The images of the Founding Fathers of Hunan nationality created in different historical periods have different characteristics, such as idolatry symbols, secularization and trivialization. The common character and the individuality merge, the shape and spirit have such several stages, presents the distinct historical evolution. Moreover, since the new period, the image of the founding fathers on the screen has gradually presented a unique artistic charm, which is different from the portrayal of characters in literary works, and the film artists have gradually created the image of the founding fathers of Hunan nationality. In the unity of artistic reality and historical reality, the fusion of common color and individual color, especially the application of film sound, film color and other artistic techniques, the image of the founding fathers became more vivid. Multi-dimensional. In addition, the image of Hunan Founding Yuan presents a distinct spirit of Huxiang culture. The study and analysis of the image of Hunan Founding Yuan in movies since the new period is not only conducive to promoting the creation and development of such films. Drawing the distance between the audience and the Founding Fathers, and bringing aesthetic pleasure to the audience, sublimating the spiritual realm of the audience and reshaping the values of contemporary people.
【學(xué)位授予單位】：湖南科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 王樂(lè)群;崇高:重大革命歷史題材影片的審美取向——兼評(píng)革命領(lǐng)袖銀幕形象的塑造[J];大慶社會(huì)科學(xué);1992年02期
2 朱定峰;;方言:塑造電影人物形象的有效工具[J];電影文學(xué);2007年14期
3 李霜;;淺談電影音樂(lè)的美學(xué)特質(zhì)[J];電影文學(xué);2008年22期
4 李曉寧;李東風(fēng);;淺析色彩在國(guó)產(chǎn)大片中的運(yùn)用[J];電影文學(xué);2010年09期
5 楊海軍;;析《建國(guó)大業(yè)》的電影音樂(lè)[J];電影文學(xué);2010年10期
6 宮科;;電影色彩的審美意義[J];電影文學(xué);2011年05期
7 徐沛華;;音樂(lè)在影視作品中的作用與重要性[J];電影文學(xué);2011年16期
8 林春曙;;解讀電影《建國(guó)大業(yè)》音樂(lè)的魅力[J];電影文學(xué);2012年01期
9 尹力;朱毅飛;;從《鐵人》看尹力導(dǎo)演的藝術(shù)追求[J];電影新作;2009年04期
10 翟俊杰;告別紅土地《金沙水拍》導(dǎo)演回顧[J];電影藝術(shù);1995年02期
本文編號(hào)：2420232
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2420232.html
[Abstract]:Since the new era, with the transformation of the times, the liberation of screen image shaping restricted area and the constant exploration and innovation of film artists, a lot of artistic charm has been exuded, filled with revolutionary passion. The reappearance of Zheng-Rong revolutionary years of film works in the film art world set off a far-reaching red wave. The culture of Huxiang, which has a rich connotation and has a long history in the 20th century, has given birth to many people with profound influence and unique charisma. The Founding Fathers of Hunan nationality is one of the most representative groups. With the development of film art, the images of Mao Zedong, Peng Dehuai, Liu Shaoqi, He Long, He Long and the Founding Fathers of Hunan nationality successively entered the audience's sight, entered the audience's feelings, and became an important object of expression on the screen of the film. Into a unique cultural phenomenon. The Founding Fathers of Hunan nationality deeply embed themselves in the long stream of history by their own hard and outstanding struggle, while the film artists let them show their charm and unique charm one by one in the spotlight through their own exploration and practice. There are rich and profound social connotations and special aesthetic provisions in them, and the audience can evaluate the image of the founding fathers of Hunan nationality from different angles. The film art circles have also experienced a process of development and change in shaping the image of the Founding Fathers of Hunan nationality. The images of the Founding Fathers of Hunan nationality created in different historical periods have different characteristics, such as idolatry symbols, secularization and trivialization. The common character and the individuality merge, the shape and spirit have such several stages, presents the distinct historical evolution. Moreover, since the new period, the image of the founding fathers on the screen has gradually presented a unique artistic charm, which is different from the portrayal of characters in literary works, and the film artists have gradually created the image of the founding fathers of Hunan nationality. In the unity of artistic reality and historical reality, the fusion of common color and individual color, especially the application of film sound, film color and other artistic techniques, the image of the founding fathers became more vivid. Multi-dimensional. In addition, the image of Hunan Founding Yuan presents a distinct spirit of Huxiang culture. The study and analysis of the image of Hunan Founding Yuan in movies since the new period is not only conducive to promoting the creation and development of such films. Drawing the distance between the audience and the Founding Fathers, and bringing aesthetic pleasure to the audience, sublimating the spiritual realm of the audience and reshaping the values of contemporary people.
【學(xué)位授予單位】：湖南科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 王樂(lè)群;崇高:重大革命歷史題材影片的審美取向——兼評(píng)革命領(lǐng)袖銀幕形象的塑造[J];大慶社會(huì)科學(xué);1992年02期
2 朱定峰;;方言:塑造電影人物形象的有效工具[J];電影文學(xué);2007年14期
3 李霜;;淺談電影音樂(lè)的美學(xué)特質(zhì)[J];電影文學(xué);2008年22期
4 李曉寧;李東風(fēng);;淺析色彩在國(guó)產(chǎn)大片中的運(yùn)用[J];電影文學(xué);2010年09期
5 楊海軍;;析《建國(guó)大業(yè)》的電影音樂(lè)[J];電影文學(xué);2010年10期
6 宮科;;電影色彩的審美意義[J];電影文學(xué);2011年05期
7 徐沛華;;音樂(lè)在影視作品中的作用與重要性[J];電影文學(xué);2011年16期
8 林春曙;;解讀電影《建國(guó)大業(yè)》音樂(lè)的魅力[J];電影文學(xué);2012年01期
9 尹力;朱毅飛;;從《鐵人》看尹力導(dǎo)演的藝術(shù)追求[J];電影新作;2009年04期
10 翟俊杰;告別紅土地《金沙水拍》導(dǎo)演回顧[J];電影藝術(shù);1995年02期
本文編號(hào)：2420232
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2420232.html
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